I was really good in this movie. Really good. I'm personally a little upset I'm not getting more recognition for the great work I did. No film this year had better action sequences, the plot was tight, the acting was great. I mean, what does it take to get onto a top 10 list?
Just today, Dana Stevens at Slate published her list, and she had the audacity to say "it was hard enough to pick just 10." Really? I can barely think of 5. She includes "Away From Her," "Once," and "Ratatouille," and readers of this blog are pointed to my previous posts as to why these shouldn't make the cut. She has includes "No End in Sight" and "The Host." "No End is Sight" is a fairly engaging documentary about the Iraq war, but it doesn't include a lot of information you don't know already from reading the news, and it's not even the best documentary of the year ("Sicko" and "The Devil Came on Horseback" were better). And "The Host" is a decent Korean action/horror film, but I don't think it carries the social satire and eco-concern subtext that some people have pointed out. Saying "The Host" is a social satire is like saying "Predator" is a subtle critique of U.S. foreign policy in Latin America during the Reagan administration. Except that "Predator" is a subtle critique of U.S. foreign policy in Latin America under the Reagan administration.
She rounds out her list with "There Will Be Blood," "Persepolis," and "The Diving Bell and the Butterfly" -- which haven't come out yet, as far as my city is concerned -- and "4 Months, 3 Weeks, and 2 Days" -- which comes out next year -- and "Killer of Sheep" -- which came out in 1977. In other words, top 10 lists have now become the list of movies you should see next year, or rather, the list of movies critics happened to see this year, whether they were released or not. For viewers and fans, there's no room to debate the critics' lists because many of these movies are unwatchable. If the only criteria are that the critic watched the movie, then here's my list of the top 3 movies of the year that I saw, in alphabetical order: "The Bourne Identity," "The Bourne Supremacy," and "The Bourne Ultimatum." There. I listed movies I saw; some were released this year, some were not. Call me a movie critic.
This year has shown two distinct and noteworthy trends. First, the "good" movies aren't released until December, and then only in N.Y. and L.A., and then usually the last two weeks of the year. Second, the other 11 months are taken up with Hollywood filler that gets worse and worse every year. Except for my movie, which came out in the middle of the year, so everyone could see it by the year's end and everyone could debate it when it showed up in top 10 lists. But it hasn't shown up in the lists. Why? You have to give props to Greengrass, who has the je ne sais quoi to buck the trend and release a great movie in the middle of the year (he released "United 93" in March), knowing that under the reigning ideology, this is foreclosing Oscar consideration.
But anyway, back to me. This film wraps up the trilogy nicely, and even manages to get serviceable performances out of terrible (Julia Stiles) and questionable (Joan Allen and Paddy Considine) actors. Both the rooftop chase followed by hand-t0-hand between Bourne and Desh and the car chase through New York City up the ante for other action films. It's also nice to see that director Paul Greengrass can make a big-budget Hollywood action movie while using the same instincts and film vocabulary that made "Bloody Sunday" and "United 93" undisputed modern classics.
Monday, December 31, 2007
Saturday, December 29, 2007
Eastern Promises
David Cronenberg follows up his impactful "A History of Violence" with this brooding, menacing tale of the Russian mob in London. Cronenberg, we should never forget, directed "Crash." The good "Crash" from 1996. His movies still carry a taste of the extreme (whether violence or otherwise, as in "Crash"), but it never seems done just to be doing it. He has a point, and the scenes are all essential. His films are still deliberately paced, but this is one of the few instances where "deliberate" is not used as a euphemism for "slow and boring." Rather, thoughtful, purposeful, and reflective.
Viggo Mortensen let it all hang out, as it were, in his portrayal of one of the mobsters. In a rather notable scene towards the end, two men attack him with knives while he's in a bathhouse. In the ensuing melee, he stabs and kicks and hits with no clothes -- and with the camera not hiding his body, unlike the awkwardly staged prison shower fight scene in 50 Cent's "Get Rich or Die Tryin'." Roger Ebert thought the world of this scene and referred to it as a "benchmark," even comparing it to the car scene in "The French Connection." That's overdoing it a bit. For one, the scene is almost too carefully choreographed, and there are too many cuts between shots for you to be blown away by it. For another, it's overlooking the more visceral and mesmerizing close-combat scene in "The Bourne Ultimatum," which, even though the actors were fully clothed, conveyed more physicality and life-threatening struggle.
While the movie was engaging, it had its shortcomings. For one, Naomi Watts. She's a terrible actress. Her work in "King Kong" amazed me, and I was hoping she had turned a corner, but no, she's the same old Watts from "21 Grams," "Le Divorce," and "Mulholland Drive." Also, the different Russian accents in the movie made me think of a joke. A Greek, a Czech, and a James Bond villain walk into a bar. Oh no, wait. They're all supposed to be Russian. Many critics also noted that the screenwriter, Steven Knight, also wrote "Dirty Pretty Things," otherwise known as "Amelie's Kidney Adventure," which is a similar tale of immigrants in London learning of the seediness that lurks below the surface of society. However, not a lot of critics noted that he also wrote the overwrought "Amazing Grace," otherwise known as, "White Britons Free The Slaves, Who Are The People That Do Not Appear In This Film."
If someone asked me if they should see "Eastern Promises," I'd reply "Mmm, yeah," as opposed to "yes." But it seems like the kind of film that might merit further viewings, so over time my opinion may change for the better.
Viggo Mortensen let it all hang out, as it were, in his portrayal of one of the mobsters. In a rather notable scene towards the end, two men attack him with knives while he's in a bathhouse. In the ensuing melee, he stabs and kicks and hits with no clothes -- and with the camera not hiding his body, unlike the awkwardly staged prison shower fight scene in 50 Cent's "Get Rich or Die Tryin'." Roger Ebert thought the world of this scene and referred to it as a "benchmark," even comparing it to the car scene in "The French Connection." That's overdoing it a bit. For one, the scene is almost too carefully choreographed, and there are too many cuts between shots for you to be blown away by it. For another, it's overlooking the more visceral and mesmerizing close-combat scene in "The Bourne Ultimatum," which, even though the actors were fully clothed, conveyed more physicality and life-threatening struggle.
While the movie was engaging, it had its shortcomings. For one, Naomi Watts. She's a terrible actress. Her work in "King Kong" amazed me, and I was hoping she had turned a corner, but no, she's the same old Watts from "21 Grams," "Le Divorce," and "Mulholland Drive." Also, the different Russian accents in the movie made me think of a joke. A Greek, a Czech, and a James Bond villain walk into a bar. Oh no, wait. They're all supposed to be Russian. Many critics also noted that the screenwriter, Steven Knight, also wrote "Dirty Pretty Things," otherwise known as "Amelie's Kidney Adventure," which is a similar tale of immigrants in London learning of the seediness that lurks below the surface of society. However, not a lot of critics noted that he also wrote the overwrought "Amazing Grace," otherwise known as, "White Britons Free The Slaves, Who Are The People That Do Not Appear In This Film."
If someone asked me if they should see "Eastern Promises," I'd reply "Mmm, yeah," as opposed to "yes." But it seems like the kind of film that might merit further viewings, so over time my opinion may change for the better.
The Kingdom
Terrorists bomb a compound in Saudi Arabia that houses United States citizens, and an enterprising group of FBI agents travel to The Kingdom, as it's called, to investigate. And along the way, the cultures clash. This sounded like a recipe for a heavy-handed borefest or a cliche-ridden "Crash"-esque Hollywood exploration of the oneness of man.
So surprising, then, that the movie was so good. It was filmed in the now popular Greengrassian style of "United 93" and "The Bourne Ultimatum," but it didn't feel imitated or schticky. The interactions between the Americans and the Saudis were for the most part free of stereotypes and banal, contrived dialogue. And it never forgot that it was first and foremost an action movie. The bombing sequence in the beginning and especially the chase and shootout at the end were top-notch. The middle was taken up with the investigation, and the movie used this time well, not merely going through the motions but developing the characters, such as the Saudi Faris Al Ghazi, and exploring the difference in cultures.
Jason Bateman continues his great movie career thus far. He had one of the most memorable performances of the year in "Smokin' Aces," an otherwise unmemorable movie. And here he plays a wisecracking FBI agent whose humor never overwhelms the other actors or distracts from the movie. Chris Cooper continues to find himself in good movies -- "Syriana" and "The Bourne Identity" -- though I still don't like him as an actor. And Peter Berg's job directing confirmed what I thought about "Friday Night Lights" -- that the problem with that movie was not the director, but rather the actors and the script. Berg's got some decent movies in his future, given the right tools.
The movie was not without its problems, though. For one thing, there were times where actors, especially Jamie Foxx, would talk fast and quiet and it was impossible to hear what they were saying. Subtitles could have cured this, but we shouldn't have to watch a film with subtitles. The plot, especially towards the end, descended into the very predictable. Also, the movie worked so well at developing the character of the Saudi investigator, Faris, that it makes you wonder why the film could not have developed more Saudi characters. This is kind of like the problem in "The Last Samurai." The best parts of that movie were the Japanese actors and their storyline; the American, Tom Cruise, slowed the whole thing down and detracted from the film. In that case, why not just make a movie without the American? "The Kingdom" is different since the story was about the interplay between the cultures, whereas "The Last Samurai" was about how Americans taught the Japanese everything they know. But still, the question remains, why not give more face time to non-American actors, especially if they're up to the task?
Nevertheless, a thoroughly impressive movie, especially considering its mediocre reviews and the fact that Jennifer Garner was in it.
So surprising, then, that the movie was so good. It was filmed in the now popular Greengrassian style of "United 93" and "The Bourne Ultimatum," but it didn't feel imitated or schticky. The interactions between the Americans and the Saudis were for the most part free of stereotypes and banal, contrived dialogue. And it never forgot that it was first and foremost an action movie. The bombing sequence in the beginning and especially the chase and shootout at the end were top-notch. The middle was taken up with the investigation, and the movie used this time well, not merely going through the motions but developing the characters, such as the Saudi Faris Al Ghazi, and exploring the difference in cultures.
Jason Bateman continues his great movie career thus far. He had one of the most memorable performances of the year in "Smokin' Aces," an otherwise unmemorable movie. And here he plays a wisecracking FBI agent whose humor never overwhelms the other actors or distracts from the movie. Chris Cooper continues to find himself in good movies -- "Syriana" and "The Bourne Identity" -- though I still don't like him as an actor. And Peter Berg's job directing confirmed what I thought about "Friday Night Lights" -- that the problem with that movie was not the director, but rather the actors and the script. Berg's got some decent movies in his future, given the right tools.
The movie was not without its problems, though. For one thing, there were times where actors, especially Jamie Foxx, would talk fast and quiet and it was impossible to hear what they were saying. Subtitles could have cured this, but we shouldn't have to watch a film with subtitles. The plot, especially towards the end, descended into the very predictable. Also, the movie worked so well at developing the character of the Saudi investigator, Faris, that it makes you wonder why the film could not have developed more Saudi characters. This is kind of like the problem in "The Last Samurai." The best parts of that movie were the Japanese actors and their storyline; the American, Tom Cruise, slowed the whole thing down and detracted from the film. In that case, why not just make a movie without the American? "The Kingdom" is different since the story was about the interplay between the cultures, whereas "The Last Samurai" was about how Americans taught the Japanese everything they know. But still, the question remains, why not give more face time to non-American actors, especially if they're up to the task?
Nevertheless, a thoroughly impressive movie, especially considering its mediocre reviews and the fact that Jennifer Garner was in it.
Sunday, December 23, 2007
Thursday, December 20, 2007
The Ballad of Jack and Rose
A dying hippie, who lives with his daughter on an island, invites his girlfriend and her two kids to stay with them. Daniel Day-Lewis is always good. Catherine Keener -- though appearing in such disparate films as this, "Capote," and "The 40 Year Old Virgin" -- seems to have a limited range. I don't see a big future for Paul Dano. I don't like hippies. Maybe it should have been a play.
The Simpsons Movie
An hour-and-a-half episode. "South Park" actually made a movie, distinct in style and format from the TV show, and that's one reason it was great. "The Simpsons" did no such thing. Also, unfortunately, the movie has about as many laughs as a regular episode. It didn't have enough of the regular characters, the family spent too long away from Springfield where not much happened, and Maggie's first word was disappointing.
But as far as animated movies go, I like this more than most. It had a story and they tried to make it funny. I liked it better than "Ratatouille," which was nothing more than a decent, not nearly as interesting retelling of "Perfume: The Story of a Murderer."
But as far as animated movies go, I like this more than most. It had a story and they tried to make it funny. I liked it better than "Ratatouille," which was nothing more than a decent, not nearly as interesting retelling of "Perfume: The Story of a Murderer."
Wednesday, December 19, 2007
Halloween
Rob Zombie continues to impress with his polished visual aesthetic. However, this film -- his third, with "House of 1000 Corpses" and "The Devil's Rejects" -- still shows room for growth in the narration department. He has stories to tell, and they tend to be ugly rather than scary, brutal rather than shocking. But when the only redeemable characters tend to be extras, and the main characters are soulless killers, it's hard to find a way to appreciate what he's trying to accomplish.
It starts as a promising exploration of evil, with Michael hiding his true self behind his masks and his psychiatrist (Malcolm McDowell) struggling to understand. However, once Michael breaks out of prison to track down his sister, the only person in his family he didn't kill at the beginning, the movie becomes like any other horror film out there. In this latter half, Zombie might have been better off breaking further away plotwise from John Carpenter's original. Since he was pretty faithful to it -- except for a few notable sequences -- there wasn't much interesting about it to those who had seen Carpenter's film.
It starts as a promising exploration of evil, with Michael hiding his true self behind his masks and his psychiatrist (Malcolm McDowell) struggling to understand. However, once Michael breaks out of prison to track down his sister, the only person in his family he didn't kill at the beginning, the movie becomes like any other horror film out there. In this latter half, Zombie might have been better off breaking further away plotwise from John Carpenter's original. Since he was pretty faithful to it -- except for a few notable sequences -- there wasn't much interesting about it to those who had seen Carpenter's film.
The Road Home
Zhang Ziyi pines for the new schoolteacher in her village. She does this by looking into the camera for half the movie. She's fairly easy on the eyes, so the film is decent, but Zhang Yimou fades from one scene to another way too much.
Tuesday, December 18, 2007
Once
"Once" is Spanish for 11, as in Nigel saying his speakers go up to 11. The incidence of music in this movie is 11. But it's not great music, and if you don't like it, there's not much here for you.
A lot of people love this movie. I don't get it.
A lot of people love this movie. I don't get it.
Balls of Fury
"Dodgeball" meets "Enter the Dragon," but not funny. Another one-joke comedy where humor is the exception. "You must believe in yourself when no one else does. Like right now, for instance."
Friday, December 14, 2007
Mission: Impossible III
Contrary to what many closet religious bigots would like to believe, Tom Cruise is not the problem with this film. First, there's Keri Russell. The scenes where she's training -- and we're supposed to believe she's one of the best agents ever -- are hilarious. Second, Johnathan Rhys Meyers. A theater critic once described Joey Tribbiani as being "not believable as a human being." The same could be said for this accidental star. ("Bend it Like Beckham" was great and "Velvet Goldmine" was okay -- but certainly not because of this putz.) Third, J.J. Abrams. His involvement with "Alias" isn't worth much, his "Lost" ties don't earn him much cred given its recent problems, and "Felicity" wasn't great. He's not God's gift to TV, and he certainly isn't to movies either. Philip Seymour Hoffman was okay, though. Also, I'm not sure why it's PG-13, given what happens 4:42 into track 9. Go Maggie Q!
Closer
Yuck. Unlikeable people cheat on each other, and I just don't care. Clive Owen was good as a complete sleaze, but respect has been lost for Julia Roberts and Natalie Portman. I never thought Jude Law can act, and this merely backs me up.
Thursday, December 13, 2007
Oscar Watch 2007: Golden Globes
And the nominees . . . are lame. Check it out. For best drama, the nominees are "American Gangster," "Atonement," "Eastern Promises," "The Great Debaters," "Michael Clayton," "No Country for Old Men" and "There Will Be Blood." That's right. Apparently, the films were so good this year the Globes couldn't limit themselves to 5 nominations. There needed to be 7! For best comedy or musical, "Across the Universe," "Charlie Wilson's War," "Hairspray," "Juno" and "Sweeney Todd."
The first thing to note, again, is that half these films have not come out yet. The second is that none of my personal favorites are listed. The third is that the Golden Globes don't pick good movies. Last year, they chose "Babel" and "Dreamgirls" as the best of the year. Which makes me think it's a good thing they didn't choose the movies I like.
The first thing to note, again, is that half these films have not come out yet. The second is that none of my personal favorites are listed. The third is that the Golden Globes don't pick good movies. Last year, they chose "Babel" and "Dreamgirls" as the best of the year. Which makes me think it's a good thing they didn't choose the movies I like.
Rescue Dawn
This film is further proof that, despite what many critics say, Werner Herzog is a pedestrian filmmaker. His documentary style is too haphazard, too self-indulgent. And, even if "Rescue Dawn" shows he has greater skill in telling fictional stories, Herzog still doesn't impress me. He's truly helped here by Christian Bale, who continues to show a range and intensity few actors can match. But actors, even the greats, are limited by their director, and Herzog is a man of limitations. He can't get strong performances out of people, a lot of the scenes feel staged, and the dialogue's nothing great. A worthwhile effort, but man, I don't like Herzog.
Tuesday, December 11, 2007
Harry Potter and the Order of the Phoenix
Zzz . . .
The first two: boring. Third one: quirky, but only okay. Fourth: pretty good. Order of the Phoenix: back to boring. How people get into this stuff I'll never know.
There's a new Defense of the Dark Arts teacher. I wonder if she's bad. Yep, she is. Also, the actors are starting to look older. Not sure how they'll make two more of these. Not sure how I'll sit through two others either.
The first two: boring. Third one: quirky, but only okay. Fourth: pretty good. Order of the Phoenix: back to boring. How people get into this stuff I'll never know.
There's a new Defense of the Dark Arts teacher. I wonder if she's bad. Yep, she is. Also, the actors are starting to look older. Not sure how they'll make two more of these. Not sure how I'll sit through two others either.
Monday, December 10, 2007
Away from Her
A decent portrayal of Alzheimer's, if at times melodramatic. Julie Christie has a fine performance as the one afflicted, especially towards the end, but, even though she's the one getting all the recognition (both awards and critics), I thought Gordon Pinsent's portrayal of the husband was more touching. "The Corrections" had a more global, human, and nuanced perspective of the disease, but it's a book, not a movie, so I think the comparison ends there.
During the movie, I came up with a twist that might have made it more enjoyable. What if, at the end, you learn that the husband is the one with Alzheimer's. He's been confused with what's been happening to his wife the whole time, upset she's seeing someone else, and it turns out, it's all part of the disease taking hold of him. Finally, towards the end, he confides in one of the employees of the rest home, "I see . . . I forget." Obviously, much about the movie would have to be changed for that to happen. But it could be done.
During the movie, I came up with a twist that might have made it more enjoyable. What if, at the end, you learn that the husband is the one with Alzheimer's. He's been confused with what's been happening to his wife the whole time, upset she's seeing someone else, and it turns out, it's all part of the disease taking hold of him. Finally, towards the end, he confides in one of the employees of the rest home, "I see . . . I forget." Obviously, much about the movie would have to be changed for that to happen. But it could be done.
Saturday, December 8, 2007
Friday, December 7, 2007
Wishing Stairs
Another Korean entry in the Tartan Asia Extreme line. At an all-girls school, students learn that if they count the steps of a nearby staircase, a fox will grant them one wish. (I don't know if the film means an actual fox or if that's a translation thing.) But the girls learn, as they often do in movies of this sort, that their wishes come true, but not as they'd hoped. That's when people start dying and ghosts start lurking.
Thematically, this tries to be like "Memento Mori" -- an incomparable mix of "The Ring," "Brokeback Mountain," and "Godzilla" -- and this film just can't live up to that. Despite some decent Sapphic teen angst and horror sequences, it's not as terrifying as it could have been. If it weren't for how superior the similar "Memento Mori" is, I might think more highly of this film. But because not everything that happened was expected and it kept a solid pace, I have no regrets watching it.
Thematically, this tries to be like "Memento Mori" -- an incomparable mix of "The Ring," "Brokeback Mountain," and "Godzilla" -- and this film just can't live up to that. Despite some decent Sapphic teen angst and horror sequences, it's not as terrifying as it could have been. If it weren't for how superior the similar "Memento Mori" is, I might think more highly of this film. But because not everything that happened was expected and it kept a solid pace, I have no regrets watching it.
The Life Aquatic with Steve Zissou
"What would be the scientific purpose of killing it?" "Revenge." Better than I remember -- the beginning especially offered some delightful moments, some by (surprise) Jeff Goldblum ("Is that a new merit badge?" "As a matter of fact, it is. I just became a knight in Portugal." (Trust me, it's funny when he says it.)) -- but sadly, it doesn't live up to its "Moby Dick" aspirations. Overall, it shows a definite downward trend from Anderson's earlier, better work, "Rushmore" and "The Royal Tenenbaums" and, to a lesser extent, "Bottle Rocket."
Also interesting was that Noah Baumbach co-wrote it with Anderson. Noah of "The Squid and the Whale." When Zissou looks into the camera at the end and says, "This is an adventure," and then lifts the kid on his shoulders as David Bowie's "Queen Bitch" plays, it recalls the finer moments of "The Squid" and even "Rushmore." But, unlike in those movies, "The Life Aquatic" doesn't earn the wistful nostalgia Anderson wants us to feel.
Also interesting was that Noah Baumbach co-wrote it with Anderson. Noah of "The Squid and the Whale." When Zissou looks into the camera at the end and says, "This is an adventure," and then lifts the kid on his shoulders as David Bowie's "Queen Bitch" plays, it recalls the finer moments of "The Squid" and even "Rushmore." But, unlike in those movies, "The Life Aquatic" doesn't earn the wistful nostalgia Anderson wants us to feel.
Thursday, December 6, 2007
The Yes Men
Anti-globalization pranksters combat WTO stupidity with performance art. A touch self-congratulatory for my taste, and I don't think it's as subversive as they think it is, and at 82 minutes it's an hour too long. But otherwise engaging.
Day Watch
As far as sequels to Russian sci-fi-vampire movies go, this one is pretty good. But it doesn't have much competish. There are Light and Dark people, and a backstory starting with "the Chalk" that was found in olden-days Iran. Fast forward to modern Russia, with "Matrix"-esque special effects and a devolving truce between warring factions of people with special powers of some sort and a search for "the Chalk."
A few notable sequences. One man puts red sticks in another's ears and then slams his face into the snow. The man then scoops up the face imprint, places it over his face, and wipes away the snow to reveal he has changed his face to match the imprint. Not sure how that happened. Perhaps most memorable though is a scene reminiscent of "The Transporter 2" where a woman drives her car off of a building, but somehow turns it mid-air so it lands on the side of another building across the street, where she continues driving it until she's over a window, she pops the clutch or something, and then the car falls through the window, landing in a room.
But the plot mostly escapes me. For one thing, it seems an obvious point, but it's worth making: "Day Watch" is not as dark as "Night Watch." The darkness was part of what I liked. Also, "Night Watch" had subtitles in blood, an innovation lost in the sequel, unless I configured it wrong on my DVD player. Once I ascertained these differences, I largely lost interest and did not pay much attention. If "Dusk Watch" ever comes out, I'm not sure I'll bother to see it. For a series that appeared from the trailers for "Night Watch" to be as epic as "The Matrix," I'm afraid this trilogy thus far has disappointed me. Maybe it's good as far as Russian films go, but that alone doesn't do it for me.
A few notable sequences. One man puts red sticks in another's ears and then slams his face into the snow. The man then scoops up the face imprint, places it over his face, and wipes away the snow to reveal he has changed his face to match the imprint. Not sure how that happened. Perhaps most memorable though is a scene reminiscent of "The Transporter 2" where a woman drives her car off of a building, but somehow turns it mid-air so it lands on the side of another building across the street, where she continues driving it until she's over a window, she pops the clutch or something, and then the car falls through the window, landing in a room.
But the plot mostly escapes me. For one thing, it seems an obvious point, but it's worth making: "Day Watch" is not as dark as "Night Watch." The darkness was part of what I liked. Also, "Night Watch" had subtitles in blood, an innovation lost in the sequel, unless I configured it wrong on my DVD player. Once I ascertained these differences, I largely lost interest and did not pay much attention. If "Dusk Watch" ever comes out, I'm not sure I'll bother to see it. For a series that appeared from the trailers for "Night Watch" to be as epic as "The Matrix," I'm afraid this trilogy thus far has disappointed me. Maybe it's good as far as Russian films go, but that alone doesn't do it for me.
Oscar Watch 2007: National Board of Review
The Oscar race is officially underway, given that Film-of-the-Year awards are already coming out. It seems fitting to start this year with the National Board of Review, which released its Best Of list yesterday.
Before considering what weight to give this year's list, let's reflect on past choices to see what credibility the National Board has. Last year, the Board chose "Letters from Iwo Jima" as the best film, and the list was rounded out with, among others, "Babel," "The Devil Wears Prada," "Flags of our Fathers," and "Notes on a Scandal." The first thing to note is that the Board did not include the best films of the year, "United 93" and "Children of Men," and not even "Borat" or "The Death of Mr. Lazerescu" or "The Proposition." But omissions can be forgiven if the actual list is decent, but it's not. "Letters" -- and its counterpart "Flags" -- are undeniably bad films. Slow, boring, pointless. In "Letters," the Japanese found out Americans were coming, and then they all killed themselves. It's two hours of suicide. That's not an interesting movie. Except for "The Bridge." That was okay. And then, "Babel" and "Prada"? Are you kidding me?
So starting out, the Board does not deserve much respect. And they deserve even less after this list. "No Country for Old Men" was chosen as the film of the year. And yet, here's their list of the top ten of the year, from their own website: "The Assassination of Jesse James . . .," "Atonement," "The Bourne Ultimatum," "The Bucket List," "Into the Wild," "Juno," "The Kite Runner," "Lars and the Real Girl," "Michael Clayton," and "Sweeney Todd." Two things stand out. One, "No Country" did not even make the top 10! Two, half these films haven't even come out yet. That second point is worth reflecting on later, showing both that critics seem to be holding out hope that this last month can redeem the last 11 of the drivel that's come out, and that Hollywood seems more and more to save everything -- the best and not-so-best -- for last. But more later.
Not having seen some films that might be good, here's the best I've seen this year, in no particular order: "Planet Terror" (and certainly not "Death Proof"), "Sicko," "The Bourne Ultimatum," and "Vacancy." "The Devil Came on Horseback" was also pretty good. "Knocked Up" and "Superbad" are notable because they're funny, but if they end up making my top 10, that's a sad comment on the state of film. And so far, that's it. Four films. Maybe five. I still need half a list. And it doesn't look like much is on the horizon that might round out my top 10. We'll see.
Before considering what weight to give this year's list, let's reflect on past choices to see what credibility the National Board has. Last year, the Board chose "Letters from Iwo Jima" as the best film, and the list was rounded out with, among others, "Babel," "The Devil Wears Prada," "Flags of our Fathers," and "Notes on a Scandal." The first thing to note is that the Board did not include the best films of the year, "United 93" and "Children of Men," and not even "Borat" or "The Death of Mr. Lazerescu" or "The Proposition." But omissions can be forgiven if the actual list is decent, but it's not. "Letters" -- and its counterpart "Flags" -- are undeniably bad films. Slow, boring, pointless. In "Letters," the Japanese found out Americans were coming, and then they all killed themselves. It's two hours of suicide. That's not an interesting movie. Except for "The Bridge." That was okay. And then, "Babel" and "Prada"? Are you kidding me?
So starting out, the Board does not deserve much respect. And they deserve even less after this list. "No Country for Old Men" was chosen as the film of the year. And yet, here's their list of the top ten of the year, from their own website: "The Assassination of Jesse James . . .," "Atonement," "The Bourne Ultimatum," "The Bucket List," "Into the Wild," "Juno," "The Kite Runner," "Lars and the Real Girl," "Michael Clayton," and "Sweeney Todd." Two things stand out. One, "No Country" did not even make the top 10! Two, half these films haven't even come out yet. That second point is worth reflecting on later, showing both that critics seem to be holding out hope that this last month can redeem the last 11 of the drivel that's come out, and that Hollywood seems more and more to save everything -- the best and not-so-best -- for last. But more later.
Not having seen some films that might be good, here's the best I've seen this year, in no particular order: "Planet Terror" (and certainly not "Death Proof"), "Sicko," "The Bourne Ultimatum," and "Vacancy." "The Devil Came on Horseback" was also pretty good. "Knocked Up" and "Superbad" are notable because they're funny, but if they end up making my top 10, that's a sad comment on the state of film. And so far, that's it. Four films. Maybe five. I still need half a list. And it doesn't look like much is on the horizon that might round out my top 10. We'll see.
Superbad
Second time. Still funny. This time I appreciated the cops more, like when Bill Hader does a Yoda impression and tells McLovin it's from "Attack of the Clones."
Wednesday, December 5, 2007
Carved: The Slit Mouthed Woman
"Am I pretty?" the slit-mouthed woman asks. The answer: kind of. Take away the glassy eyes and the Heath-Ledger-as-Joker-like mouth, and she's an attractive woman. Even if you can look past those superficial physical characteristics, though, she's a ghost who kidnaps and hurts kids.
It's certainly not the best Tartan Asia Extreme film ("Oldboy"), but it's certainly not the worst ("Marebito"). It creates some moments of genuine eeriness, like when she has three kids tied up in the house with the red roof. The camera focuses on the girl we've seen before, while in the background we see an out-of-focus figure carrying a knife approach the other two children. Creepy. But sadly, that's about it, other than some decent set-up in the beginning. Too much soul-searching towards the end on the part of the main characters, and it slows down.
Some of the lines are also memorable, like when a woman tells her son, "Chop my head off with this." For some reason -- probably because it's Japanese -- it reminded me of the animated film "Paprika," where at one point a character asks, "Who is eating my dream?" and he means it literally.
The verdict on "Carved": it's aight, but it's no "Shutter," another pretty good film from Tartan.
It's certainly not the best Tartan Asia Extreme film ("Oldboy"), but it's certainly not the worst ("Marebito"). It creates some moments of genuine eeriness, like when she has three kids tied up in the house with the red roof. The camera focuses on the girl we've seen before, while in the background we see an out-of-focus figure carrying a knife approach the other two children. Creepy. But sadly, that's about it, other than some decent set-up in the beginning. Too much soul-searching towards the end on the part of the main characters, and it slows down.
Some of the lines are also memorable, like when a woman tells her son, "Chop my head off with this." For some reason -- probably because it's Japanese -- it reminded me of the animated film "Paprika," where at one point a character asks, "Who is eating my dream?" and he means it literally.
The verdict on "Carved": it's aight, but it's no "Shutter," another pretty good film from Tartan.
Pirates of the Caribbean: At World's End
"At Wit's End" would be better. Glad this trilogy is over. Why this needed to be nearly three hours is beyond me, since nothing happened. Plotwise, there was a double-cross, and then another, and then, oh, another, and then battles on ships and nautical jargon. The only thing going for this one was that, unlike in the second, Keira Knightley was not made to look mannish.
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